On April 8th at 6:00 PM, Fondazione Sandretto Re Rebaudengo will inaugurate Bird Dream Machine, the latest chapter of a project divided into three episodes by the artist Teresa Solar Abboud, which began with the presentations of Machine Dream Bird at the Centro de Arte Dos de Mayo (CA2M) and Bird Machine Dream at the Museu d’Art Contemporani de Barcelona (MACBA)

Fondazione Sandretto Re Rebaudengo presents Bird Dream Machine, the first solo exhibition in Italy by Teresa Solar Abboud. Based on a research developed through multiple concepts, Solar Abboud's practice has evolved from video experimentation to exploring forms and materials through sculpture, creating large-scale installations that immerse the viewer in the artist's narrative process. Her work reveals a deep interest in the relationship between matter, language, and bodily production, focusing on the morphology of language and the resistance of language itself. In recent years, Solar Abboud's forms have increasingly drawn inspiration from organic elements, giving life to a world of metaphors related to bone structures, orifices, and the connections between them. Her installations have become progressively more complex, often incorporating architectural elements of the exhibition space to blur the boundaries between interior and exterior, allowing architectural, geological, and animal dimensions to converge simultaneously.

Bird Dream Machine establishes a new reading of Teresa Solar Abboud's work, focusing on the artist's most recent production to present an environmental installation of the sculptures Tuneladora [Tunnel Boring Machine] from 2024. Presenting themselves as hybrid and interconnected fragments of beaks and fins, the sculptures play on the duality between the rough and earthy clay of the bases and the smooth and glossy resin of the protruding forms, evoking both prehistoric beings that make up the subsoil and the machines that excavate it. Through this contrast, Solar Abboud not only references different material languages, affects, and industries – such as geology and mechanics – but also alludes to different temporal scales, from primordial to modern. As the artist describes: "These works are an attempt to inhabit the multiple times of the Earth – its geological age and that of the compressed beings that compose it – as well as the time of human beings, their interferences, and tools of knowledge." Arranged side by side in a circular room, the repetition of these fragments creates a rhythm and movement that recalls the centrifugal force of a vortex. As if growing and blossoming, the circular installation seems to escape the idea of linear progress to embody a multiplicity, suggesting an infinite horizon of possibilities.